Staging

Proposal for scenic reading

"The fact of being a public figure is becoming an archetype, since fame, even at the cost of cumbersome inconveniences, seems to keep us away from elementary life. In this integrated state of ours, the decentralized authority of a diffuse prince that appears distributed and competes fragmentarily is adored. Something like a divinity in motion that, living among us, transmutes our technological lock-up into a limbo of comfort and pleasure".

Ignacio Castro, 1999

With our staging of this work, what we plan is the achievement of every element taking part: music, theatre and dancing. A conjunction of the artistic forms that can take shape on stage. As a reminder, the attempt of the Camerata Fiorentina at recovering the alleged theater of classic Greece, where it is said: they sang, recited and danced.

Another detail that must always be kept in mind is the fact that we are dealing with a tale, and it must be considered as such when transferring the action onto the stage. We will not intend to transfer the reality of the text and the story following a realistic canon because that would go against the authors' own idea. The different spaces where the action develops can be identified with the help of lighting sets and costume changes, and by means of the body's own expressiveness, which makes the actors true architects of this soldierly illusion.

One more factor affecting the scenic reading of this work is the situation of both authors and the situation Europe is going through when they meet in Switzerland and decide to work together. They tell us about a danger stalking the roads, about the Soldier's error and his excessive innocence faced with the events. Ignorance makes us weak, vulnerable, and we must be strong dealing with the dangers of our contemporary world. We should not forget that after World War I (1914-1918) the paradigmatic turn of european man was devastating. It is not by chance that this point is considered as the beginning of contemporary history.

Within this perspective, our approach to the staging starts from the use of the empty space of the stage, and we try to take the actors, music and dancing as the only references, linking up the whole of this with the figure of the Narrator, who serves as a connection between the auditorium and what is happening on stage, just as the coryphaeus did in Grecian classic theatre. Costumes and lighting sets let the audience follow the pure action of the text, and it's the conjuction of the three above-mentioned disciplines, and not just one of them, that makes the images arise out of the score and the text. It is for this reason that the orchestra will remain on stage too, and not hidden in the pit.

Technical requirements for the show